Tcheky Karyo Quotes

I'm very good at plot.

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.

A subplot is a distinguishing characteristic of the novel; the short story, for example, does not need subplots.

Listen to great storytellers; slowly, you will learn about voice, timing, tension, structure, climax - all the things you need to tell stories that will capture the imagination of your audience.

I love good stories; you have to have a good plot - characters which intertwine with a good plot.

I want to tell a story and shape it all the way through to the end.

I have a plot, but not much happens.

The key is a good story. If you have a good story, you have enough emotional beats that you can hit.

The nice thing about a series is you can end on cliffhangers all the time. You can be like, 'You know what? Here we go, this person just died, end of book.' And with the end of the series, you're very conscious of all the plotlines that were left hanging. There's a balance there to wrap those up but still leave it exciting.

In a story, you have to have a theme and an angle, you have to have a beginning, middle and an end. You have to have a defining moment and kick it to death. You gotta be able to recognize that, by the way. It probably takes experience.

The parallels between a stage and a book are compelling. You, like all authors, create 'characters' in a 'setting' who speak 'dialogue' encased in 'scenes.' Most importantly, you - like the playwright - have an 'audience.'

I don't really look for a script and go, 'I need to do a thriller, so I'm going to do this.' I just read scripts and look for the best possible story.

That is what I define as a novel: something that has a beginning, a middle and an end, with characters and a plot that sustain interest from the first sentence to the last. But that is not what I do at all.

In re-reading 'Presumed Innocent,' the one thing that struck me - and I re-read the book four different times in writing 'Innocent,' interested in different things each time - but I did think there were a couple of extra loops in the plot that I probably didn't need. The other thing that sort of amazed me was how discursive the book was.

Above all, a well-imagined story is organized around extraordinary human behaviors and unexpected and startling events, which help illuminate the commonplace and the ordinary.

A structure is a bit like a story. People will go along with you - they see where you're going.

The storyline has always been of paramount importance to me. The subject and climax of 'Phillauri' touched my heart.

People love storylines. They love them because at some point, the talent will get people emotionally invested.

For me, the best moments in storytelling are the ones where I feel I'm discovering something.

If your characters are two-dimensional and your plot uncompelling, it won't matter how incredibly detailed and believable your fantasy world might be.

I love a good cliffhanger. I love when big events happen in shows. I love shows that aren't afraid to take risks and to really do what's best for the story line and realistic for the story line.

I like to tell stories that have beginnings, middles and ends.

I don't like plots. I don't know what a plot means. I can't stand the idea of anything that starts in the beginning - you know, 'beginning, middle and end.'

If you're telling a story it's always best not to play the ending.

When you think of a great twist or a red herring or a way of misdirecting the reader, it is good, but you know that they are just tricks at the end of the day, and the way to keep interest is to write characters that people care about.